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| Cover design |
As mentioned through the association between the typeface and the location of the museum, Helvetica forms the main identity of the publication. The tight kerning and minimal leading reduce the white space in between each letterform making the copy look more like an overall structural form, where the prominent counterforms of 'A', 'O', 'U' and C provide contrast against the more concentrated areas of black formed through 'I', 'S', 'M', 'N' and 'HI'.
The overlapping of '3' and '0', the anniversary of Noguchi's death, reduces the definition of each number making the combination look more like a sculptural form than purely its numerical value.
Choosing to display a more horizontal sculpture on the cover helps widen the space on the page. This works better visually with Helvetica's squared form.
This cover will feature on the publication's reversible dust cover.
The reversibility of the dust cover gives the reader an added usability of the publication, allowing them to choose their own representation of the book's content.
The increase in tracking is exaggerated in the second cover, further blurring the lines between each letterform. This shows how important the counterforms are in helping to define each letter and support Kunz's observation.
The overlapping of the sculpture onto the copy adds a level of depth to the second cover.
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| Spread 1 |
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| Spread 2 |
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| Spread 3 |
The transformation of typography into sculpture is taken quite literally in Spread 1 where constant cap and descender height create a unified rectangular shape for the copy, emphasising the irregular rag which creates that 'sculptural' form. The thick black bar on the bottom acts as the 'plinth' of the typographic sculpture.
The typesetting of 'ISAMU NOGUCHI' on the cover is carried through into the inside pages, acting as the title of each page and section and maintaining the publications identity.
The effect of having the sculptures outlined without any background, makes them look like they are part of the publication and not a separate image. They feel closer to the reader, creating a more intimate reading experience and provides a better visual comparison to the purely typographic sculptures as there is nothing detracting.
The following spreads are some examples of this effect.
The layout of each spread only follow that the typographic sculptures are on the left page. The composition of the sculptures differ from spread to spread, aiming to create a lively reading experience as to also accentuate the sculpture's unique characteristic.
At this stage, the copy is filled with placeholder text as to get an idea of how copy will sit against the sculptures.
Moving forward:
Addition of typographic sculptures
Addition of book's informational content
Refinement of layout if necessary
Test printing
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